Derek Sivers: the public you is not you | Derek Sivers
Hughie
· 2 years ago
Hey, Derek.
Thanks, that's great advice. One of Australia's all-time great football coaches, Wayne Bennet of the Brisbane Broncos, takes this one step further, saying that he usually ignores all public discussion about the team's fortunes. He really pisses the media off by refusing to comment or answer their questions about speculative things. And he does it for both reasons.
He argues like this: A while ago we lost our third game straight and all the pundits were asking what's wrong, criticising our selections, saying out tactics were out of date. Now we're won three straight and are playing some really good football people are calling me a genius and asking if this is the greatest Broncos team ever. Well, we didn't listen then and we're not listening now. We just do our best every week and if we get it right the results come ...
I like that approach and it's a great way to live life. On a personal note, keep up the good work.
Cheers, Hughie
DJ Crier
· 2 years ago
To critique or be critiqued, that is the question.
This is some great advice, Derek – but it’s a hard pill to swallow when you’re an Independent artist.
Artists by their very nature are more sensitive than the average bear – which is why we flourish in artistic fields. We FEEL things much deeper; We laugh louder, cry harder … and bitch the loudest – particularly when someone takes a dig at our music.
If I had a dime for every time an artist hurled abuse, profanity and insanity at us regarding the review process on Fame Games, I’d be as minted as Simon Cowell. (And it goes without saying that Simon’s fame and fortune is built on killing off the Independent artist.)
Tunes from my first album are on garageband.com and my album is also for sale on cdbaby.com. Where do I benefit most? CDBaby, of course. Garageband with all its reviews by other well-meaning musicians (because let’s face it, not many music fans are into this sort of thing) has not put money in my pocket or given me anything meaningful other than a bit of ego-stroking or, ego-poking.
Sales are the biggest indicator of progress, which is why CDBaby has such potential to rock an Indie’s world. I say potential because as you know, just being on CDBaby isn’t enough.
Indies are inundated by advice, on-line discussions and websites all claiming they can help you promote your music and get music lovers, like Joe Blow from Chilliwack, Canada, to buy your music; To travel to Toronto and see your gig and buy your T-shirt and stand in line to have you sign his chest.
Joe Blow will seek out only what he knows, however. Joe listens to the radio driving to work; He goes to clubs on the weekend; He’s on YouTube, MySpace and in chat rooms during the week and watches a bit of TV before going to bed. Where is Indie music in this mix? Getting reviews on musician-driven sites and going nowhere.
If you’re In*de*pen*dent – you’re not on Joe’s radio. Terrestrial airplay costs about $30,000 just to get spinning properly in small markets (regular rotational airplay – which is the only kind that will get to Joe’s radio).
And if you’re In*de*pen*dent, you’re not getting played in clubs. Nope – the clubs in your area suck and play doosh-doosh-doosh from 10-2am. Your music “doesn’t fit the mix, dude.”
Sure, you’re on YouTube and MySpace, but so is friggin’ Christina Aguilera, 50 Cent, and plenty of soft –porn to distract poor Joe Blow. Not only that, but newly signed major label acts also abound, posing as “unsigned acts” and being hailed Internet phenomena. See http://online.wsj.com/article/SB118903788315518...
And television? Yeah, right. I was on the local news plenty of times, too.
What an Indie needs is an American Idol (or if you’re in England, X-Factor). Simon Cowell has done more for karaoke singers than all the majors, mini-majors and large Independent labels put together have done for the rest of us unsigned and undiscovered Indie artists and bands. Think about it – karaoke singers rule the music industry. When’s the last time you scanned the Billboard charts? How many Idol alums did you notice with not one, but two singles in the top 100? You’d be surprised.
American Idol works. It is the hottest music promotion device out there because it entertains Joe Blow. Say what you will- spit at your TV like I do when it comes on, but it’s true.
Which is why for the past 4 years I’ve been working with my producer on a format to rival American Idol. We’ve called it Fame Games and it’s for Indies and their music. No karaoke allowed.
We actually pitched this format to Simon Cowell’s TV production company two years ago in London. They turned us down because “the television network is very happy with X-Factor, thank you very much.”
Undettered, we went back to the drawing board and formatted it for radio (More manageable for our team of 2 which is now a team of 11.) The show is kicking some minor ass so far. In 18 months, we’ve gained 1.9 million listeners on-line. We also air terrestrially every Wednesday and Saturday in Southern Europe. The website for more info is www.meermusic.com.
For the masochistic mindset that you prescribe, Fame Games is a perfect exercise – and not just to be critiqued but to BE a critic and to be held accountable for your reviews. Select reviewers are read out on air each week and that makes all the difference.
Depending on individual manners, we’ve discovered that the Fame Games reviewers are as honest as they can be – some are really nasty and some are very balanced. One thing’s for sure, the reviewers who also put their music up for public scrutiny are the ones who really get the most out of the experience. Some artists have even made a name for themselves as reviewers first - and this drives their music’s likeability factor. (Proving your point about “say something controversial.”) There’s nothing like putting your money where you mouth is (or in this case – your music where your mouse is.)
So when you offer your three instructions for practicing the “public you is not you” mindset:
(1) Put your songs out there for anonymous critique;
(2) Put your songs out for non-anonymous critique, and realize it's the same as anonymous.
(3) Publicly say something controversial.
Fame Games nails all three.
And the outcome?
Some people enjoy feedback in any shape or form (5%).
Some enjoy only good feedback but don't scream when tortured by bad reviews (80%).
Some actually enjoy the bad feedback and use it to grow (5%).
Some are extremely tender, even when the feedback is good, and want to kill you and EVERYBODY when it's bad (10%).
And yet...
ANY feedback draws attention to the artist.
The moral?
When you release your music on CD or mp3 - you'll get a reaction no matter what. It will be good, bad or neutral.
But if you don't seek open-forum feedback - you'll never know...
My best to you, always, Derek. Nice little forum you got here.
Roberto Philipp
· 2 years ago
Well said DJ Crier. I couldn't agree more. I think your program FameGames is a great vehicle for the indies. I know it's helped me alot in many ways.
Roberto Philipp
Matt Kern
· 2 years ago
I saw your post made it to the front page of Digg and I checked it out on O'Reilly.
I was going to comment and defend you to some degree but I figured you were a big boy and didn't need my help.
It was quite funny seeing all those hard-core programmer guys taking their best shot. I especially liked the guy who said CDBaby would not be good for your resume.
I think I am like you where I enjoy programming a lot (picked it up later in life) but we know it is a means to an end and not the end itself.
The end result for guys like us is actually making something and creating something out of nothing. The same as with music.
For a hard core programmer - the end result is not nearly as important as the actual coding! That is their box and that is how they view the world.
Similar to when these same programmers rant how facebook is all procedural code! Oh My God! It's the end of days!
Personally, I will take procedural code that Microsoft is willing to pony up $400 million for over some fully optimized OOP site that no one cares about.
The big picture stuff is more fun anyways.
Keep On Bootstrapping!
Matt Kern
Jennifer
· 1 year ago
People suck. LOL.
Seriously, I get all sorts of compliments and rants without asking for them from artists too. People want to give their opinion. I think having a thick skin is definitely key to staying around in the music business - or any business for that matter.
If I had a nickel for every artist that told me to #@$@# off I could buy myself a cup of coffee ;)
TJR
· 1 year ago
DJ Crier: You are so on the mark in regards to "Idol". About a year or so ago, Spin Magazine in their article "10 Ways to fix the music industry", suggested that we needed an American Idol type of show that would showcase great songwriting talent.
Good luck with Fame Game. I will be finding out more about it. Hopefully I can take part in it.
m
· 1 year ago
Learning not to take criticism personally seems related to the notion (in another of your posts) of making art for lots of little listeners instead of any one big listener. It can help reduce the sting of any one critique to put it in perspective amongst your other fans, listeners, critics, etc.
On a tangent, Derek, you might really enjoy the documentary made about the Dixie Chicks titled "Shut Up And Sing". It's incredibly well-made and it moved me to tears - and I'm into that kind of thing, so.
tehuti
· 1 year ago
There's a nice site called BandAMP.com where you can only post your mp3's after you comment on other posted songs. I learned that it's just as hard to say the right thing when critiquing somebody else's as it is to get the right thing from a critique on your own music. And if you can kind of average out all the things people say about a song (and people will say just about anything), then you usually come up with something close to a useful truth.
-tehuti
Paul
· 1 year ago
Derek: RE: Critiques by the public or A+R:
As a child of ten, I lay on the floor watching the Ed Sullivan show, when this band called "The Beatles" came on and, like Michael Corleone in "The Godfather", I was struck by the Lightning Bolt, as we Sicilians call it.
Now, as a man fast approaching 55, I question why I EVER thought that it was the right thing to send a major label a piece of my music when they are inbred, narrow-minded, money-focussed drones (mostly) who care nothing for critques of anyone lest it be "someone they love" (a lift from MPL communications Ltd., [Paul McCartney] ...even my hero's philosophy has become the same...remember the one-man band ad from Apple? Oh yeah, Sir Paul, but God, I love ya to death man...).
Having diatribed the jerks who denied me my fame whilst I was young a handsome, I want to say that the ONLY TRUE WAY to sell ANYTHING of creative output by an unknown is the CD Baby.com model. Oh...Hey! Isn't that what Procter and Gamble and Johnson and Johnson do....put out a product in the public's face and LET THEM DECIDE. They DO! Haleleujah! It turns out that the ONE SONG from my 90+ CD Baby listings that I thought would NEVER SELL in a million, bazillion years is my number one seller by more than double it's closest rival. Screw critiques and free giveaways, let CD Baby load you up a page forever for a paltry 55 bucks and let the people buy your work...or not.
All Comments
Thanks, that's great advice. One of Australia's all-time great football coaches, Wayne Bennet of the Brisbane Broncos, takes this one step further, saying that he usually ignores all public discussion about the team's fortunes. He really pisses the media off by refusing to comment or answer their questions about speculative things. And he does it for both reasons.
He argues like this: A while ago we lost our third game straight and all the pundits were asking what's wrong, criticising our selections, saying out tactics were out of date. Now we're won three straight and are playing some really good football people are calling me a genius and asking if this is the greatest Broncos team ever. Well, we didn't listen then and we're not listening now. We just do our best every week and if we get it right the results come ...
I like that approach and it's a great way to live life. On a personal note, keep up the good work.
Cheers,
Hughie
This is some great advice, Derek – but it’s a hard pill to swallow when you’re an Independent artist.
Artists by their very nature are more sensitive than the average bear – which is why we flourish in artistic fields. We FEEL things much deeper; We laugh louder, cry harder … and bitch the loudest – particularly when someone takes a dig at our music.
If I had a dime for every time an artist hurled abuse, profanity and insanity at us regarding the review process on Fame Games, I’d be as minted as Simon Cowell. (And it goes without saying that Simon’s fame and fortune is built on killing off the Independent artist.)
Tunes from my first album are on garageband.com and my album is also for sale on cdbaby.com. Where do I benefit most? CDBaby, of course. Garageband with all its reviews by other well-meaning musicians (because let’s face it, not many music fans are into this sort of thing) has not put money in my pocket or given me anything meaningful other than a bit of ego-stroking or, ego-poking.
Sales are the biggest indicator of progress, which is why CDBaby has such potential to rock an Indie’s world. I say potential because as you know, just being on CDBaby isn’t enough.
Indies are inundated by advice, on-line discussions and websites all claiming they can help you promote your music and get music lovers, like Joe Blow from Chilliwack, Canada, to buy your music; To travel to Toronto and see your gig and buy your T-shirt and stand in line to have you sign his chest.
Joe Blow will seek out only what he knows, however. Joe listens to the radio driving to work; He goes to clubs on the weekend; He’s on YouTube, MySpace and in chat rooms during the week and watches a bit of TV before going to bed. Where is Indie music in this mix? Getting reviews on musician-driven sites and going nowhere.
If you’re In*de*pen*dent – you’re not on Joe’s radio. Terrestrial airplay costs about $30,000 just to get spinning properly in small markets (regular rotational airplay – which is the only kind that will get to Joe’s radio).
And if you’re In*de*pen*dent, you’re not getting played in clubs. Nope – the clubs in your area suck and play doosh-doosh-doosh from 10-2am. Your music “doesn’t fit the mix, dude.”
Sure, you’re on YouTube and MySpace, but so is friggin’ Christina Aguilera, 50 Cent, and plenty of soft –porn to distract poor Joe Blow. Not only that, but newly signed major label acts also abound, posing as “unsigned acts” and being hailed Internet phenomena. See http://online.wsj.com/article/SB118903788315518...
And television? Yeah, right. I was on the local news plenty of times, too.
What an Indie needs is an American Idol (or if you’re in England, X-Factor). Simon Cowell has done more for karaoke singers than all the majors, mini-majors and large Independent labels put together have done for the rest of us unsigned and undiscovered Indie artists and bands. Think about it – karaoke singers rule the music industry. When’s the last time you scanned the Billboard charts? How many Idol alums did you notice with not one, but two singles in the top 100? You’d be surprised.
American Idol works. It is the hottest music promotion device out there because it entertains Joe Blow. Say what you will- spit at your TV like I do when it comes on, but it’s true.
Which is why for the past 4 years I’ve been working with my producer on a format to rival American Idol. We’ve called it Fame Games and it’s for Indies and their music. No karaoke allowed.
We actually pitched this format to Simon Cowell’s TV production company two years ago in London. They turned us down because “the television network is very happy with X-Factor, thank you very much.”
Undettered, we went back to the drawing board and formatted it for radio (More manageable for our team of 2 which is now a team of 11.) The show is kicking some minor ass so far. In 18 months, we’ve gained 1.9 million listeners on-line. We also air terrestrially every Wednesday and Saturday in Southern Europe. The website for more info is www.meermusic.com.
For the masochistic mindset that you prescribe, Fame Games is a perfect exercise – and not just to be critiqued but to BE a critic and to be held accountable for your reviews. Select reviewers are read out on air each week and that makes all the difference.
Depending on individual manners, we’ve discovered that the Fame Games reviewers are as honest as they can be – some are really nasty and some are very balanced. One thing’s for sure, the reviewers who also put their music up for public scrutiny are the ones who really get the most out of the experience. Some artists have even made a name for themselves as reviewers first - and this drives their music’s likeability factor. (Proving your point about “say something controversial.”) There’s nothing like putting your money where you mouth is (or in this case – your music where your mouse is.)
So when you offer your three instructions for practicing the “public you is not you” mindset:
(1) Put your songs out there for anonymous critique;
(2) Put your songs out for non-anonymous critique, and realize it's the same as anonymous.
(3) Publicly say something controversial.
Fame Games nails all three.
And the outcome?
Some people enjoy feedback in any shape or form (5%).
Some enjoy only good feedback but don't scream when tortured by bad reviews (80%).
Some actually enjoy the bad feedback and use it to grow (5%).
Some are extremely tender, even when the feedback is good, and want to kill you and EVERYBODY when it's bad (10%).
And yet...
ANY feedback draws attention to the artist.
The moral?
When you release your music on CD or mp3 - you'll get a reaction no matter what. It will be good, bad or neutral.
But if you don't seek open-forum feedback - you'll never know...
My best to you, always, Derek. Nice little forum you got here.
Roberto Philipp
I was going to comment and defend you to some degree but I figured you were a big boy and didn't need my help.
It was quite funny seeing all those hard-core programmer guys taking their best shot. I especially liked the guy who said CDBaby would not be good for your resume.
I think I am like you where I enjoy programming a lot (picked it up later in life) but we know it is a means to an end and not the end itself.
The end result for guys like us is actually making something and creating something out of nothing. The same as with music.
For a hard core programmer - the end result is not nearly as important as the actual coding! That is their box and that is how they view the world.
Similar to when these same programmers rant how facebook is all procedural code! Oh My God! It's the end of days!
Personally, I will take procedural code that Microsoft is willing to pony up $400 million for over some fully optimized OOP site that no one cares about.
The big picture stuff is more fun anyways.
Keep On Bootstrapping!
Matt Kern
Seriously, I get all sorts of compliments and rants without asking for them from artists too. People want to give their opinion. I think having a thick skin is definitely key to staying around in the music business - or any business for that matter.
If I had a nickel for every artist that told me to #@$@# off I could buy myself a cup of coffee ;)
Good luck with Fame Game. I will be finding out more about it. Hopefully I can take part in it.
On a tangent, Derek, you might really enjoy the documentary made about the Dixie Chicks titled "Shut Up And Sing". It's incredibly well-made and it moved me to tears - and I'm into that kind of thing, so.
-tehuti
RE: Critiques by the public or A+R:
As a child of ten, I lay on the floor watching the Ed Sullivan show, when this band called "The Beatles" came on and, like Michael Corleone in "The Godfather", I was struck by the Lightning Bolt, as we Sicilians call it.
Now, as a man fast approaching 55, I question why I EVER thought that it was the right thing to send a major label a piece of my music when they are inbred, narrow-minded, money-focussed drones (mostly) who care nothing for critques of anyone lest it be "someone they love" (a lift from MPL communications Ltd., [Paul McCartney] ...even my hero's philosophy has become the same...remember the one-man band ad from Apple? Oh yeah, Sir Paul, but God, I love ya to death man...).
Having diatribed the jerks who denied me my fame whilst I was young a handsome, I want to say that the ONLY TRUE WAY to sell ANYTHING of creative output by an unknown is the CD Baby.com model. Oh...Hey! Isn't that what Procter and Gamble and Johnson and Johnson do....put out a product in the public's face and LET THEM DECIDE. They DO! Haleleujah!
It turns out that the ONE SONG from my 90+ CD Baby listings that I thought would NEVER SELL in a million, bazillion years is my number one seller by more than double it's closest rival. Screw critiques and free giveaways, let CD Baby load you up a page forever for a paltry 55 bucks
and let the people buy your work...or not.